Bright Tangerine was showing their Prodigy Rain Deflector at Cinegear 2019 in Los Angeles. The Prodigy doesn’t use any moving or spinning parts like a traditional rain spinner. Instead, it uses a compressor that pushes air down through a hose and then over a special piece of glass. The air from the compressor is forced … Continued
At Cinegear 2019, Panavision was showing their LCND (Liquid Crystal ND). Last year at Cine Gear they were showing a very early prototype of the LCND, but now they have a finished product that will be available through Panavision rental in the next few months. The LCND is an electronic ND that uses an electrical … Continued
The Canon Sumire lenses have a new competitor in the market.
The MasterBuilt Vista-M lenses take a nuanced approach to high-end cinema prime lenses. They come in a 6-lens set, with focal lengths at 18, 25, 35, 50, 85, 105, and 135mm, all at a constant T1.4.
The lenses are specifically made for full frame coverage. Most of the lenses also cover up to the Alexa 65’s sensor size. What makes these lenses special is their proprietary “prescription” that gives the lens tack sharp centers but has a very organic falloff towards the edges and corners of the image.
The overall look of the lens set is supposed to be reminiscent of Canon’s K-35 line of lenses (including the lens flares) but with the added reliability and durability of modern mechanics and optical design. All of the lenses are very similar in weight, making lens swaps on Steadicam and gimbal setups a breeze. The housing of the lenses will maintain the polished look, rather than the conventional matte-black colorway (much like the old Panavision Panatar lenses).
The Vazen 40mm t/2 1.8X Anamorphic Prime is claimed to be the world’s first 1.8X anamorphic prime designed for Micro Four Thirds cameras with 4:3 sensors. The 1.8x squeeze produces a 2.39:1 aspect ratio when used with 4:3 M43 sensors like the Panasonic GH5 and Z-cam E2. The lens features a T2 aperture and the breathing looked … Continued
These films offer more than franchise jump scares or those films with one giant twist that are pointless on second viewing. They offer redeeming qualities like great characters, great stories, and great plot. There are probably films that scared you more, or grossed you out more, but these ones give you the scares and a whole lot more.
10. Cabin in the Woods (2011, Drew Goddard)
This film has everything. Maybe too much of everything, but it’s so damn entertaining. If you like the Evil Dead, you get some Evil Dead. You like Hellraiser, you get some Hellraiser. You like Cube, you get Cube. You like any Whedon, you get lots of Whedon. You like monster movies, you get all of the monster movies. Gore, scares, laughs and a final girl. Everything!
From the minds of Joss Whedon (Buffy the Vampire Slayer) and Drew Goddard (Cloverfield), we get a part homage, part satire, masterpiece. Five college kids (including a young Chris Hemsworth) head towards our title, and the most cliché of premisses.
Once there we find that they are being manipulated by scientists (led by the great Richard Jenkins) in a secret lab facility below the cabin. One by one they are targeted by classic horror movie ghouls and merman, as the film descends into absolute madness and a battle for humankind.
9. Don’t Breathe (2016, Fede Alvarez)
This film played with our senses long before A Quiet Place made billions playing on the same thing – Hush did a pretty good job of it too – But this is the pick of the bunch. It’s a simple yet wonderful premise, with producer/director team, Sam Raimi and Fede Alvarez (best known for his admirable Evil Dead remake), delivering in spades.
Three young thieves – Money (Dylan Minnette), Rocky (fellow Evil Dead alumni, Jane Levy), and Alex (Daniel Zovatto) plan to rob a Blind Man (a chilling performance from acclaimed stage actor, Stephen Lang, ultimately best known for Avatar), who is stashing money which he won in a settlement over his daughter’s death.
It’s an easy score on paper, but the Blind Man has other plans. This house is rigged to keep people in as much as out and the Vietnam Vet and his beloved (and terrifying) dog are no pushovers.
The tide turns quickly, and the film becomes the most flipped-on-its-head home invasion film you could ever imagine – Not to mention as re-watchable as Home Alone! The film is a master-class in building tension, with incredible scare sequences, right up until the brutal twist and ending.
8. You’re Next (2011, Adam Wingard)
Like its catchy and re-played song, ‘Looking for the Magic’ by Dwight Twilley, this film and it’s bad-ass female lead can be re-visited as much as Christmas Vacation on the holidays, or 50 Days of Summer after a break-up.
Directed by Adam Wingard, and stacked with a bunch of indie horror greats in the cast, including Barbara Crampton, the film follows an estranged family, gathering for their parent’s anniversary. The family is full of deplorable characters, which just makes the carnage more enjoyable, as they are attacked by masked intruders.
The only likeable character is Erin (Sharni Vinson), the new Australian girlfriend of a family member, who happens to be some Sarah Connor-like, survivalist. Obviously what ensues is greatly satisfying, much like Kevin dishing it out to the wet bandits in Home Alone. This film will have you cheering like it’s the Super Bowl.
Seems like there is an on-going Home Alone theme running through this list, possibly because that film does everything right. This film takes a lot of the same winning ingredients and drags us back much the same. It’s not perfect, but sometimes you don’t want perfect, you just want to see a girl give out an ass-whooping on some masked intruders.
7. High Tension (2003, Alexandre Aja)
There have been some truly great French horror films this century. Not a lot that you really want to re-visit though… Inside. Martyrs. Raw. Trouble Every Day. Sheitan. All brilliant, and all unpleasant. Good luck pressing play again once you have seen them! Which brings us to the most controversial and divisive pick of the list, High Tension.
Here we have the only slasher film on the list, and one of the best from this century. An early work from director, Alexandre Aja (Mirrors), this is one of the most simple and scary films of recent times. You will be digging deep to find kind reviews for it, but on scares alone, this rates as intense and brutal as they come.
Two young women, Alex (Maiwenn) and Marie (Cecile De France), travel to Alex’s family home in the French countryside for the weekend, and are hunted by a hulking madman who bludgeons her family to death. Very simple!
This would be one of the greatest slasher films, if it weren’t for it’s divisive ending. There is a twist. It’s a big one. Does it work? That’s for you to decide, but you will have a nasty, thrilling time getting there. It’s light on dialogue but make sure you find the original, non-dubbed version.
6. Thirst (2009, Park Chan-Wook)
The most visually stunning film on the list. Thirst is just so overwhelming on first viewing that it needs a revisit. You find yourself missing things while recovering from one WTF moment to the next, plus vampires are just so fascinating and timeless, much like this film.
Directed by Park Chan-Wook after his incredible vengeance trilogy, comes an epic vampire film. The film follows a priest (Song Kang-ho) who is resurrected as a vampire after an unfortunate blood transfusion. Fighting his new instincts, he manages to get by for most part by stealing blood from a hospital, prior to meeting the younger wife of an old friend, in a more unfortunate situation than himself.
The film quickly descends into sometimes hilarious, but mostly bloody madness, as the priest attempts to keep the newly infected woman in check – Something that appears beyond his capabilities – She has no such trouble adapting to her new bloody lifestyle.
The Panasonic S1H boasts full frame, $4000, 6K 3:2, 14+ stops of dynamic range.
Caught your attention yet? Watch the video for all the juicy details.
Panasonic is taking a stab at the high-end prosumer/professional owner/operator with the S1H.
Here are the highlights:
- L Mount lens mounting system
- 6K 3:2 up to 24p (a lot like open-gate), 5.9K 16:9 up to 30p
- 4K 10bit internal up to 30p, 4K 10bit external (via HDMI) up to 60p, V-Gamut (same look as Panasonic’s EVA-1 or the Panasonic VariCam, currently 39% off)
- Unlimited recording time
- 14+ stops of dynamic range
Check out the sample footage:
What is 6K good for?
Just like 4K for HD productions, it allows for downsampling and video resizing in a smaller resolution timeline. Now, with 6K, filmmakers can get similar results in 4K that they previously were only able to get in HD.
Accessories manufacturer Wooden Camera has had several iterations of their popular directors monitor cage over the years and they just debuted their third version of the cage at Cine Gear 2019. We had a chance to give the new cage a try with the help of Wooden Camera President, Ryan Schorman. Details below:
With manufactures like SmallHD adding handles to many of their Focus and Bolt lines of monitors, it is easy to lose sight of the fact that many companies (notably Convergent Design and Atomos) still need suitable rigging to make their monitors easy to handle. The new Director’s Monitor Cage v3 works with any monitor up-to 9 inches (measured diagonally) and also leaves room for several wireless video receivers behind a handy swing away back battery panel.
Wooden Camera has moved away from the wooden handles of the v2 and towards a more maneuverable carbon fiber handle design (image below) with the v3. Perhaps a name change to Carbon Fiber Camera is in the works? Either way, the new handles are a welcome change, though perhaps less stylish than their predecessors.
The single monitor version of the cage includes a wide variety of accessories such as:
- Offset Adapters
- Lots of 1/4-20 Mounting Points
- Sunshade (easily attached with a snap button system)
- Gold Mount/V-Mount Screws
- Neck Strap
- Convergent Design Mounting Screws
The Director’s Monitor Cage v3 also comes in a dual monitor configuration, but that is slightly more expensive ($599) versus the single monitor version ($299). This obviously isn’t a full field review, but at first glance, this seems like a solid option for those with older SmallHD monitors that don’t include handles and an integrated video receiver or for those using monitors that require a bit of rigging.
What do you think? Will the Director’s Monitor Cage v3 find a space in your kit? Is it worth upgrading from the v3? Comment below!
The post Hands on with Wooden Camera Director’s Monitor Cage V3 appeared first on cinema5D.
We are all photographers because, well, we like taking pictures. But just because we like taking photos doesn’t always mean we should be taking them. When is it time to put the camera away?